Paul Gauguin
60 quotes
Biography
Eugène Henri Paul Gauguin was a French painter, sculptor, printmaker, ceramist, and writer, whose work has been primarily associated with the Post-Impressionist and Symbolist movements. He was also an influential practitioner of wood engraving and woodcuts as art forms.
"Art requires philosophy, just as philosophy requires art. Otherwise, what would become of beauty?"
"The history of modern art is also the history of the progressive loss of art's audience. Art has increasingly become the concern of the artist and the bafflement of the public."
"My Dear Mr. Pissarro; - I accept with pleasure the invitation that you and Mr. Degas were kind enough to extend to me. And naturally in that case I shall abide by all the rules that govern your Societe. Based on this decision, I also have the membership dues available. I will probably see you at Miss Latouche's and we will talk about this."
"Painting is the most beautiful of all arts. In it, all sensations are condensed, at its aspect everyone may create romance at the will of his imagination, and at a glance have his soul invaded by the most profound memories, no efforts of memory, everything summed up in one moment. Complete art which sums up all the others and completes them. Like music, it acts on the soul through the intermediary of the senses, the harmonious tones corresponding to the harmonies of sounds, but in painting, a unity is obtained which is not possible in music, where the accords follow one another, and the judgement experiences a continuous fatigue if one wants to reunite the end and the beginning. In the main, the ear is an inferior sense to the eye. The hearing can only grasp a single sound at one time, whereas the sight takes in everything and at the same time simplifies at its will."
"This Cézanne [a 'Still life with Compotier, Fruit and Glass', Cézanne made c. 1879-1882!!], that you ask me for is a pearl of exceptional quality and I already have refused three hundred francs for it; it is one of my most treasured possessions, and except in absolute necessity, I would give up my last shirt before the picture."
"How do you see this tree? Is it really green? Use green, then, the most beautiful green on your palette. And that shadow, rather blue? Don't be afraid to paint it as blue as possible."
"freely and madly; you will make progress.. .Above all, don't sweat over a painting; a great sentiment can be rendered immediately.."
"Don't copy nature too closely. Art is an abstraction; as you dream amide nature, extrapolate art from it and concentrate on what you will create as a result."
"A great sentiment can be rendered immediately. Dream on it and look for the simplest form in which you can express it."
"I borrow some subject or other from life or from nature, and, using it as a pretext, I arrange lines and colors so as to obtain symphonies, harmonies that do not represent a thing that is real, in the vulgar sense of the word, and do not directly express any idea, but are supposed to make you think the way music is supposed to make you think, unaided by ideas or images, simply through the mysterious affinities that exist between our brains and such arrangements of colors and lines."
"I love Brittany; I find wildness and primitiveness there. When my wooden shoes ring on this granite, I hear the muffled, dull, and powerful tone which I try to achieve in painting."
"In my figures [of his famous painting 'Vision After the Sermon'] I have achieved a great simplicity, which is both rustic and superstitious... ..In this picture the landscape and the struggle [between Jacob wrestling with the angel ] exist only in the imagination of the people whom the sermon has moved to prayer. That's why there is a contrast between the people, depicted naturally, and the struggle in its unnatural and dis-proportioned landscape."
"Nature has mysterious infinities and imaginative power. It is always varying the productions it offers to us. The artist himself is one of nature's means."
"Many people say that I don't know how to draw because I don't draw particular forms. When will they understand that execution, drawing and color (in other words, style) must be in harmony with the poem?"
"If we observe the totality of Camille Pissarro's works, we find there, despite the fluctuations, not only an extreme artistic will which never lies, but what is more, an essentially intuitive pure-bred art.. .He looked at everybody, you say! Why not? Everyone looked at him, too, but denied him. He was one of my masters and I do not deny him."
"Life being what it is, one dreams of revenge — and has to content oneself with dreaming."
"[In] painting...all sensations are condensed, everyone...with a single glance [has] his soul invaded by the most profound recollections...everything is summed up in one instant. Like music, it acts on the soul through the intermediary of the senses: harmonious colors correspond to the harmonies of sound."
"I have lingered among the nymphs of Corot, dancing in the sacred wood of Ville-d'Avray."
"I must confess that I too am a woman and that I am always prepared to applaud a woman who is more daring than I, and is equal to a man in fighting for freedom of behavior."
"I do not paint by copying nature. Everything I do springs from my wild imagination."
"I am leaving in order to have peace and quiet, to be rid of the influence of civilization. I want only to do simple, very simple art, and to be able to do that, I have to immerse myself in virgin nature, see no one but savages, live their life, with no other thought in mind but to render, the way a child would, the concepts formed in my brain and to do this with the aid of nothing but the primitive means of art, the only means that are good and true."
"I am a great artist and I know it. It's because of what I am that I have endured so much suffering, so as to pursue my vocation, otherwise I would consider myself a rogue — which is what many people think I am, for that matter. Oh well, what difference does it make. What upsets me the most is not so much the poverty as the things that perpetually get in the way of my art, which I cannot carry out the way I feel and which I would carry out if it weren't for the poverty that is like a straitjacket. You tell me I am wrong to stay away from the artist[ic] center. No, I am right; I've known for a long time what I am doing and why I am doing it. My artistic center is in my brain and nowhere else, and I am strong because I am never thrown off-course by other people and because I do what is in me."
"A young man who is unable to commit a folly is already an old man."
"Your Nordic blue eyes looked attentively at the paintings hanging on the walls. I felt stirrings of rebellion: a whole clash between your civilization and my barbarism. Civilization from which you suffer. Barbarism which for me is a rejuvenation."
"In art, there are only two types of people: revolutionaries and plagiarists. And in the end, doesn't the revolutionary's work become official, once the State takes it over?"